Gary Numan

Gary Numan-The Pleasure Principle-Remastered-24BIT-96KHZ-WEB-FLAC-2015-TiMES
FLAC (tracks) 24 bit/96 kHz | Time – 00:41:10 minutes | 867 MB | Genre: Pop
Studio Masters, Official Digital Download | Front Cover

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Gary Numan & The Skaparis Orchestra – When the Sky Came Down (Live at The Bridgewater Hall, Manchester) (2019)
FLAC (tracks) 24 bit/44,1 kHz | Time – 02:00:52 minutes | 1,35 GB | Genre: Electronic
Studio Masters, Official Digital Download | Front Cover | © BMG Rights Management (UK) Ltd

Gary’s sold out live show with The Skaparis Orchestra at The Bridgewater Hall, Manchester. The setlist includes songs from his highly successful ‘Savage’ album and classic tracks including the No.1 single ‘Are ‘Friends’ Electric?’. A breathtaking concert for fans to relive again.

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Gary Numan – The Pleasure Principle (1979/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 41:10 minutes | 864 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Beggars Banquet

The legendary proto-new wave / electronic hit from Gary Numan that went on to influence an entire generation of synth-heads and knob twiddlers. The Pleasure Principle went to number 1 in the United Kingdom.

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Gary Numan – The Pleasure Principle – The First Recordings (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 59:21 minutes | 1,24 GB | Genre: Alternative
Studio Masters, Official Digital Download | Front Cover | © Beggars Banquet

Even before the single “Are ‘Friends’ Electric?” was released, Numan had recruited a permanent drummer and keyboard player and demoed an album’s worth of new material between April 9-12, 1979 at Freerange Studio in London’s Covent Garden. This was supplemented by a second session, probably the following June, that yielded four further songs and two re-recordings. Following the hectic schedule of promoting “AFE?”, Numan recorded a new session for John Peel the day after the single hit #1 on the UK charts. Rather than record as Tubeway Army, the session was credited to Gary Numan and the group name abandoned at the peak of its success. As before, rather than promote the current album, Numan chose to record four new songs. While the album Replicas hit #1, Numan was busy recording a follow up in Marcus Music Studio. From the surviving tapes there are six mixes marked as out-takes and these have been included in the CD package. The discs have been sequenced with the stronger, second Freerange demo preceding the first session but all tracks are in the order of the tapes.

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Gary Numan – Telekon (1980/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:20:28 minutes | 1,56 GB | Genre: Alternative
Studio Masters, Official Digital Download | Front Cover | © Beggars Banquet

Telekon is the fourth studio album (and second album under his own name) by the British musician Gary Numan. It debuted at the top of the UK Albums Chart in September 1980, making it his third consecutive (and to date, final) No. 1 album. Telekon was also the third and final studio release of what Numan retrospectively termed the “machine” section of his career, following 1979’s Replicas and The Pleasure Principle.

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Gary Numan – Intruder (2021)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:04:57 minutes | 767 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © BMG Rights Management (UK) Ltd

Gary Numan has released a new song, “Intruder,” the title track from his upcoming album, out May 21st.

The song boasts an ominous industrial stomp, although there’s an eerily serene edge to the vocal melodies as Numan shows his continued knack for pop craftsmanship. The accompanying video, directed by Chris Corner, finds Numan delivering a dramatic performance of “Intruder” in a setting where futuristic tech seems to collide with the natural world.

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Gary Numan – I, Assassin (1982/2019)
FLAC (tracks) 24 bit/96 kHz | Time – 43:50 minutes | 871 MB | Genre: Alternative
Studio Masters, Official Digital Download | Front Cover | © Beggars Banquet

After the spare and lengthy reflections and dislocated experiments of his excellent Dance album, Gary Numan made a return to a more focused approach with I, Assassin, which turned out to be his last truly great album for many years. Much of what would characterize his later music in the ’80s did start to show up here, to be sure, but instead of the formless flailing all too apparent on Warriors, and especially on Berserker, Numan’s work here with modern electronic funk combines his early rigor and to-the-point rhythms with a deft, creative hand in the arrangements. “White Boys and Heroes,” the brilliant opening number, remains one of his best singles, featuring fretless bass work from Pino Palladino (long before both it and him had turned into rent-a-clichés), and set against droning, distorted vocals and doom-laden keyboards. The vaguely Asian (or at least the group Japan)-inspired textures of Dance linger on in songs like “A Dream of Siam” and the title track (the latter possessing a captivating hollow-drum-punch introduction), while one of Numan’s most randomly entertaining songs pops up with “The 1930s Rust.” It’s a suave finger-snapping number that even features harmonica, but somehow Numan’s ear for to-the-point rhythm and strange futurism still comes through. Perhaps the most underrated song remains the sharp hipshaker “War Songs” – U2 may never want to admit it, but “Numb” takes more than a little from the distorted up-and-down introductory guitar clips.

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Gary Numan – Dance (1981/2018)
FLAC (tracks) 24 bit/96 kHz | Time – 57:37 minutes | 1,10 GB | Genre: Electronic
Studio Masters, Official Digital Download | Front Cover | © Beggars Banquet

A transition album of sorts, Dance saw Numan departing from the jerky machine music of his synth pop prime to embrace a (bit) warmer sound that is less robotic and more free-form. The subject matter on highlights like “She’s Got Claws,” “Slowcar to China,” “Cry the Clock Said,” and “Crash” are quintessentially Numan, but their musical frameworks are quite far removed from early hits like “Are ‘Friends’ Electric?” and “Cars.” Undoubtedly a shock to fans, Dance hasn’t aged very well, either. The music is just a bit too far removed from the subjects to make much sense.

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